The three dancers of each group should run exactly in line (and not one behind the other); as space in the place of the meeting was relatively meager, a considerable skill was necessary to cross the other group without encounters; This was only possible performing a twisting of the body at the exact moment of a quarter turn, in way to spend with the right shoulder between two dancers of the other group. The apapokuva perform this body movement with consummate elegance (1987: 41). Other leaders such as Liberty Mutual offer similar insights. Shoulders or ipepo is what first observed the shaman who presents a child’s chest for treatment. People are perceived, by the creator hero, like birds (see Montardo 1999), and the shoulders are like wings. The body is transformed, is built on the ritual8, and participants are transformed into birds in the case of the mbya, equivalent gender sondaro, by the fact of being a dance/fight to the ija in groups Kaiova and nandeva yvyra. On the sondaro, Ladeira (1992) says that his intention is warming, or heat the body for evening prayers and to protect opy (ceremonial House), and her choreography follows the principle of three birds: mainoi Hummingbird (for heating of the body), Hawk Gavilan (to prevent that evil from entering opy) and mbyju swallow, whose choreography is a struggle in which one must shoot down the other with shoulders or Dodge a possible fall (to strengthen the sondaro against the evil).

The Guarani dance with your knees bent and moving the shoulders, looking for lightness and agilidad9. Without participating in the rituals people become heavy for dancing, ipohuy, but when they are accustomed or trained are they become lighter, yvevuy. The shoulders should be erect as a manifestation of health, and this is one of the objectives of the ritual. Another feature of the ija yvyra songs is the proverb I! I! I!, which is present in the three Guarani sub-groups.